{"product_id":"kleiber-mozart-le-nozze-di-figaro-stereo-1955-paco229","title":"KLEIBER Mozart: Le Nozze di Figaro (stereo, 1955) - PACO229","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLe Nozze di Figaro\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStereo studio recording, 1955\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 52:02\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eFigaro - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCesare Siepi\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eSusanna - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHilde Gueden\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eConte Almaviva - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlfred Poell\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eContessa Almaviva - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLisa Della Casa\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eCherubino - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSuzanne Danco\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna State Opera Chorus\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eErich Kleiber\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA classic recording, with a great conductor and stellar singers, gets the Pristine treatment578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eI chose this as one of my two preferred vintage recordings in my survey of this opera back in 2018. It was then available only in a (good) transfer onto CD by the original issuing label, Decca and another Alto issue, presumably made once it had come out of copyright, which I have not heard. The very early stereo sound was just a little boomy in the bass and the strings are a bit thin; my own copy happens to be one in a triple-Mozart-opera box-set from the Membran Documents label, which actually sounds pretty good. Here, however, Pristine has further cleaned up the stereo studio recording using its XR Remastering technology.\u003c\/p\u003e\u003cp\u003e“This is the second stereo recording ever made and still sounds fine. Kleiber was a true Mozartian and is yet another of those old-time conductors who attacks the music with what almost sounds like period zeal; nothing soupy or cloying here – it’s sharp-edged satire. This is the same chorus and orchestra that gave Karajan such a lively and beautifully played recording five years earlier but now we have stereo sound, the recitatives, an almost complete score – and a terrific cast headed by the great Cesare Siepi who has the perfect voice for Figaro: a beautiful basso cantante with an upper extension. Gueden is marvellously neat and pointed as Susanna with both the agility and the firm lower register so often missing in sopranos who undertake this role. Hilde Rössl-Majdan makes a perfect Marcellina. Then we have the divine Lisa Della Casa as the Countess who in her first aria sounds a little tremulous but that delicacy adds to her vulnerability; “Dove sono” is firmer of line and wonderfully pure of tone but I think she is even better for Leinsdorf in their studio recording three years later. It is true that some other individual performances are less than ideal; Suzanne Danco sings charmingly but her light trilling soprano does not in the least suggest a lovestruck teenage boy; Corena is satisfactory as Bartolo, comic and characterful without having the ideal basso resonance; Poell’s Count Almaviva is blustery and dry of voice, his Italian intermittently Teutonic – a flaw occasionally apparent in other singers, too.”\u003c\/p\u003e\u003cp\u003eThe only minor textual oddities here are that there are two cuts in “Aprite presto” in an otherwise complete score, and Marcellina’s aria “Il capro e la capretta” is sung – charmingly – by Gueden as too high for the true contralto Hilde Roessel-Majdan, but presumably Kleiber wanted to include it without having it transposed down. Its immediate competition back in 1956, Mozart’s birth bicentenary, was EMI’s recording under Vittorio Gui, made under a month after Decca’s at Abbey Road Studios, which remains very fine but has a few more cuts.\u003c\/p\u003e\u003cp\u003eRevisiting it in this new remastering, I wanted both to reconsider my opinion of its artistic merits as detailed above and assess to what degree Andrew Rose’s treatment has enhanced its qualities. Of course, none of the artists involved in this classic recording is still with us and it has long since retained in its status as a favourite account, especially as few concessions had to be made for its sound quality, despite it being so old.\u003c\/p\u003e\u003cp\u003eI was immediately struck afresh by the sheer vivacity, elan and attack of the overture. Kleiber adopts a ferocious speed and his orchestra keep up; listening to my older issue before Pristine’s I instantly conceded that I could quite happily keep it as one of my favourite versions, regardless of its age. It’s four minutes of pure joy; things like the crescendo Kleiber engineers beginning at 3:16 for the last hoorah are a delight. Nonetheless, playing this new issue I can equally hear its improved depth and spaciousness; it is certainly fuller but the remastering has also lifted the recording out of what I can only describe as a slight muddiness in the bass. Not everyone will like the extra reverberation Pristine has imparted to the sound, however, and I repeat a suggestion I have several times made regarding these XR Remasterings: I cannot in all honesty insist that anyone with older issues should rush to acquire this new one, good as it is. Listen to the sample on the website and decide for yourself.\u003c\/p\u003e\u003cp\u003eMy response to the singing stands as per above, although perhaps I was a little harsh about both Corena, whose verbal fluency in the patter sections is admirable, and Poell, whose Count is not the most menacing, dangerous or psychologically penetrative but is nonetheless neatly, cleanly and accurately sung with “classical restraint”, well integrated into the ensembles and in line with Kleiber’s attachment to line and shape over overt emotivity. He makes a nice job of the long line in “”Contessa perdono!”, Lisa Della Casa’s Countess is decidedly a thing of ethereal, otherworldly beauty, poised and touching, and this must be one of Hilde Gueden’s best performances on disc. Key moments of ensemble like the miraculous “Sua madre, suo padre” sextet in Act III all go swimmingly.\u003c\/p\u003e\u003cp\u003eIn short, this may be a venerable account of Figaro but it remains one of the most satisfying available to the collector and Pristine’s refurbishment offers another option to acquire it.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRalph Moore\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eMusicWeb International\u003c\/i\u003e, DEC 2025\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO229.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\nIn the autumn of 1955, Erich Kleiber returned to Vienna’s historic\nRedoutensaal — the gilded ballroom of the old Hofburg Palace — to record\nwhat would become one of the most distinguished interpretations of Mozart’s\n\u003cem\u003eLe Nozze di Figaro\u003c\/em\u003e. The setting was ideal: a hall steeped in\nimperial history and renowned for its excellent acoustics, and one that had\nbeen well-known to the composer himself. Once again, the Vienna Philharmonic\nand State Opera Chorus formed the backbone of the ensemble, while an\noutstanding cast of singers drawn largely from Vienna’s own operatic circle\ngathered around the maestro. The result was not only one of the earliest\ncomplete stereo opera recordings but also one that remains a touchstone of\nMozart performance.\n\u003c\/p\u003e\n\u003cp\u003e\nWhen \u003cem\u003eThe Gramophone\u003c\/em\u003e reviewed the release in November 1955, Philip\nHope-Wallace hailed it as “a most important issue: \u003cem\u003eFigaro\u003c\/em\u003e is at the\nheart of all love of music and of opera.” His words were not lightly chosen.\nFor all its popularity, the opera had never previously been presented\ncomplete on long-playing records; earlier sets had omitted the recitatives\nor taken drastic cuts. Decca’s \u003cem\u003eFigaro\u003c\/em\u003e was therefore a milestone —\nthe first version to restore Mozart’s design in full, its recitatives\nperformed with theatrical energy and naturalness, the pacing unhurried, and\nthe tone unfailingly musical. Hope-Wallace admired the “beautifully acted,\nleisured and graceful” quality of these passages and the fact that “there is\nnever the slightest effect of hustling.”\n\u003c\/p\u003e\n\u003cp\u003e\nKleiber’s conducting, as always, was rooted in deep respect for the score’s\nstructure and balance. He was never one for flashy tempo manipulation or\nsentimental exaggeration, preferring instead a steady, transparent pulse\nthrough which the music’s own vitality could shine. Some listeners, familiar\nwith the brisk sparkle of Karajan’s or Giulini’s \u003cem\u003eFigaro\u003c\/em\u003e, found his\napproach unusually deliberate; but closer listening reveals how perfectly it\nserves the drama. “All the notes are audible; all the points are made,”\nwrote Hope-Wallace of the great Act II finale — adding that such clarity was\nonly possible because Kleiber refused to rush. The music breathes naturally,\neach ensemble growing organically out of the previous one, and the tension\nsustained through the beauty of line rather than the force of momentum.\n\u003c\/p\u003e\n\u003cp\u003e\nThat clarity extended to the characterisation. Cesare Siepi, already an\ninternational favourite, gives a masterly performance as Figaro — resonant,\nvirile, and intelligent, his Italian diction a model of precision. His\nFigaro is no mere servant but a man of wit and dignity, the equal of his\nmaster in all but social standing. Alfred Poell’s Count Almaviva provides an\nideal foil: commanding, proud, and occasionally explosive. Hope-Wallace\ncalled him “a fine vocal actor” who could sound “really loud and menacing,\nwhich is a great point dramatically.” Together they bring vivid contrast and\ndramatic tension to every encounter.\n\u003c\/p\u003e\n\u003cp\u003e\nAmong the women, Lisa Della Casa’s Countess offers all the radiant tone and\nelegance that made her one of the defining sopranos of her generation. Her\n“Porgi amor” unfolds with tender restraint, its phrasing poised and\nheartfelt. Opposite her, Hilde Gueden’s Susanna sparkles with energy and\nquick-witted charm. Though Hope-Wallace found her sometimes “a little dry”\nin tone, her phrasing is alert and full of character, especially in her\nduets and in the Act IV reconciliation scene. Suzanne Danco’s Cherubino,\ntoo, reveals Kleiber’s preference for purity over exuberance: hers is a\ncool, inward portrayal, perfectly sung, her “Voi che sapete” and “Non so\npiù” models of line and control. The smaller roles are no less finely taken:\nFernando Corena’s genial Bartolo, Hilde Rössl-Majdan’s dignified Marcellina,\nand Murray Dickie’s sharply etched Basilio all contribute to an ensemble\ncast that feels authentically theatrical and unmistakably Viennese in style.\n\u003c\/p\u003e\n\u003cp\u003e\nKleiber’s \u003cem\u003eFigaro\u003c\/em\u003e occupies a unique place in the recorded history of\nMozart’s operas. It stands between two worlds: the elegance and discipline\nof pre-war Vienna and the technological modernity of the post-war recording\nage. In its combination of intellectual clarity, emotional truth and\ntechnical finesse, it remains one of the most complete realisations of\nMozart’s genius on record. As Kleiber himself once observed, Mozart’s music\ndemands “clarity and proportion — music where the light always shines\nthrough.” His \u003cem\u003eFigaro\u003c\/em\u003e embodies that philosophy to perfection: lucid,\nbalanced, humane, and profoundly beautiful — a cornerstone of recorded\nopera, and an enduring testament to one of the twentieth century’s most\nexacting and inspired masters.\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eLe Nozze di Figaro, K492\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc one\u003c\/b\u003e (68:41)\u003cbr\u003e1. Overture  (4:06)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003cbr\u003e2. Cinque... deci... venti... Cosa stai misurando  (3:25)\u003cbr\u003e3. Se a caso Madama la notte ti chiama  (4:00)\u003cbr\u003e4. Bravo, signor padrone... Se vuol ballare... Ed aspettaste  (4:19)\u003cbr\u003e5. La vendetta... Tutto ancor non ho perso  (3:46)\u003cbr\u003e6. Via resti servita... Va là, vecchia pedante  (4:12)\u003cbr\u003e7. Non so più... Ah, son perduto!  (5:54)\u003cbr\u003e8. Cosa sento!... Basilio, in traccia tosto...Giovani  (10:32)\u003cbr\u003e9. Non più andrai  (3:51)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003cbr\u003e10. Porgi amor... Vieni, cara Susanna  (8:10)\u003cbr\u003e11. Voi che sapete... Bravo! che bella voce!  (3:51)\u003cbr\u003e12. Venite! Inginocchiatevi... Quante buffonerie!  (5:48)\u003cbr\u003e13. Che novità!  (1:12)\u003cbr\u003e14. Susanna, or via, sortite... Dunque, voi non aprite  (4:03)\u003cbr\u003e15. Aprite, presto, aprite... O guarda il demonietto!  (1:32)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (62:38)\u003cbr\u003e1. Tutto è come io lasciai  (1:15)\u003cbr\u003e2. Esci, ormai, garzon malnato... Susanna!... Signore!  (8:43)\u003cbr\u003e3. Signore, di fuori... Ah! signore... signor!  (9:19)\u003cbr\u003e4. Voi signor, che giusto siete  (3:56)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT THREE\u003c\/b\u003e\u003cbr\u003e5. Che imbarazzo è mai questo...Via, fatti core  (2:18)\u003cbr\u003e6. Crudel! perché finora... E perché fosti meco  (3:20)\u003cbr\u003e7. Hai già vinta la causa!... Vedrò mentr'io sospiro  (6:28)\u003cbr\u003e8. Riconosci in questo amplesso... Eccovi, o caro amico... \u003cbr\u003e    Andiamo, andiam, bel paggio  (6:33)\u003cbr\u003e9. E Susanna non vien...Dove sono i biei momenti  (6:39)\u003cbr\u003e10. Cosa mi narri!... Che soave zeffiretto... Piegato è  (7:42)\u003cbr\u003e11. Ecco la marcia... Eh, già, solita usanza  (6:25)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc three\u003c\/b\u003e (40:42)\u003cbr\u003e\u003cb\u003eACT FOUR\u003c\/b\u003e\u003cbr\u003e1. L'ho perduta... Barbarina, cos'hai?  (4:34)\u003cbr\u003e2. Il capro e la capretta... Nel padiglione a manca  (5:31)\u003cbr\u003e3. In quegli anni in cui val poco  (4:07)\u003cbr\u003e4. Tutto è disposto  (5:26)\u003cbr\u003e5. Giunse alfin il momento... Deh, vieni, non tardar  (4:49)\u003cbr\u003e6. Pian pianin le andrò più presso... Tutto è tranquillo  (11:40)\u003cbr\u003e7. Gente, gente, all'armi  (4:36)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHilde Gueden \u003c\/b\u003e(\u003ci\u003esoprano\u003c\/i\u003e) Susanna\u003cbr\u003e\u003cb\u003eCesare Siepi\u003c\/b\u003e (\u003ci\u003ebass\u003c\/i\u003e) Figaro\u003cbr\u003e\u003cb\u003eAlfred Poell \u003c\/b\u003e(\u003ci\u003ebaritone\u003c\/i\u003e) Count Almaviva\u003cbr\u003e\u003cb\u003eLisa Della Casa\u003c\/b\u003e (\u003ci\u003esoprano\u003c\/i\u003e) Countess Almaviva\u003cbr\u003e\u003cb\u003eSuzanne Danco \u003c\/b\u003e(\u003ci\u003esoprano\u003c\/i\u003e) Cherubino\u003cbr\u003e\u003cb\u003eHilde Rössl-Majdan\u003c\/b\u003e (\u003ci\u003emezzo-soprano\u003c\/i\u003e) Marcellina\u003cbr\u003e\u003cb\u003eMurray Dickie \u003c\/b\u003e(\u003ci\u003etenor\u003c\/i\u003e) Don Basilio\u003cbr\u003e\u003cb\u003eHugo Meyer-Welfing \u003c\/b\u003e(\u003ci\u003etenor\u003c\/i\u003e) Don Curzio\u003cbr\u003e\u003cb\u003eFernando Corena\u003c\/b\u003e (\u003ci\u003ebass\u003c\/i\u003e) Doctor Bartolo\u003cbr\u003e\u003cb\u003eHarald Pröglhöf \u003c\/b\u003e(\u003ci\u003ebass\u003c\/i\u003e) Antonio\u003cbr\u003e\u003cb\u003eAnny Felbermayer \u003c\/b\u003e(\u003ci\u003esoprano\u003c\/i\u003e) Barbarina\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVienna State Opera Chorus\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVienna Philharmonic Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eE\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003erich Kleiber\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eRecorded 21-27 June 1955 , Redoutensaal, Vienna\u003cbr\u003eDecca Stereo Producer: Peter Andry\u003cbr\u003eStereo Engineer: James Brown\u003cbr\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Erich Kleiber\u003cbr\u003e\u003cb\u003e\u003cbr\u003eTotal duration: 2hr 52:02\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO229.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO229.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":44064765739098,"sku":"qkj1789304496025","price":41.21,"currency_code":"USD","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":44064765771866,"sku":"qhk1789304496026","price":29.1,"currency_code":"USD","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":44064765804634,"sku":"opb1789304496027","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/kleiber-mozart-le-nozze-di-figaro-stereo-1955---paco229_1.jpg?v=1789304503","url":"https:\/\/vestorawear.shop\/products\/kleiber-mozart-le-nozze-di-figaro-stereo-1955-paco229","provider":"My Store","version":"1.0","type":"link"}